austin music

Amy Annelle: “East Texas Son”

When you look past the vast sea of love lyrics out there, songs inspired by natural phenomena are just about the greatest equalizer across music’s history. And it makes sense; there’s something so primal and timeless about evoking the rumble of thunder, the whip of wind, or the roar of the ocean. Sure, you can point to jazz or blues as place for many a rainy day refrain, but if we’re talking about a truly bucolic bond to nature, even in modern digital times, folk really relishes in reflections on the weather – be it good or bad.

Yes there are plenty of youngsters who appreciate that longstanding tradition, but here in Austin we’re doubly lucky to have a two-and-a-half decade veteran who clearly “gets” what makes folk tick – Amy Annelle. Going back to 1999’s Which One’s You?, this singer-guitarist (who also once went by The Places) has made her largely-percussion-less, Muir-esque musings a delight to listen to, whether you’re in the midst of a midday picnic or a weekend-long hike through the nearest national park. On top of a provably popular take on Townes Van Zandt’s “Buckskin Stallion Blues”, Amy Annelle’s rightfully earned opportunities to work with folk legends Bill Callahan and Daniel Johnston, and corralled her own octet of handpicked Austin talent to help enhance her transportive originals – The Velvet Hand.

Fortunately in 2024 Amy finds herself on the other side of a long struggle with chronic illness. With her health back in good shape and the life lessons of those tough years under her belt, Amy’s eager to pay that array of recent experiences forward with The Toll, out August 2nd. With the help of The Devil Makes Three’s Cooper McBean on production, Neko Case engineer-producer Darryl Neudorf on mixing, and industry icon Greg Calbi handling the master, The Toll is a one dozen offering of fine-tuned folk that sounds as pristine on home stereo as it would strumming and humming in a dilapidated deep woods cabin. At the tail end of this month, Amy Annelle’s set to play The Toll in full for the album release show on Saturday, July 27th at Scottish Rite Theater alongside opener Creekbed Carter, benefitting Communities For Recovery. But now that that’s in the forecast, let’s get back to nature.

One of The Toll‘s two originals that engage with the gargantuan aura nature wields over us all, the LP’s third lead single “East Texas Son” arrives especially poignantly as Tropical Storm Beryl leaves millions of fellow Texans without power. From flowing rivers and raging hurricanes to hungry quicksand and breezy, burning thunder, the ominous lyrical precautions of “East Texas Son” are elegantly offset by an optimistic orchestral, acoustic arrangement, one that reminds us of the healing power of nature, even after a catastrophe. But it’s also the sound of a seasoned songsmith returning to form at the top of her game.

Is that thunder you hear? No. It’s our applause for Amy Annelle.

Karima Santi: “Arizona”

Short attention spans and TikTok sensations. That’s one of the biggest pairings in modern media today. So you can’t really blame younger creators for taking the quantity-over-quality approach and just cranking out singles, essentially playing a numbers game for potential traction. But let’s be honest. You’d rather hear something from a patient perfectionist than an enthusiastic opportunist, right?

That brings us to Karima Santi. Santi’s spent her life developing into a prolific songwriter, but found herself at the tail end of her twenties with only one single on streaming to prove it, a revelation that she wasn’t getting any younger, and a desire to take action instead of wondering, “what if”. Ever since, this Nigerian-Austinite’s honed in on a relationship with stalwart producer Chris “Frenchie” Smith to further flesh out Santi’s very best and package them together as a cohesive formal introduction.

And that takes the form of Karima Santi’s debut EP, Queen of Regret, out September 13th. A six-song reckoning with the problematic perfectionism that’s prevented so many from hearing Santi’s talent, Queen of Regret is a measured acceptance of human flaw, intrinsic to the type of vulnerable indie rock Santi’s always excelled at. So while physically visiting the state itself doesn’t sound all that appealing in the midst of another summer heatwave, the EP’s latest lead single “Arizona” transports you to Queen‘s immense emotional landscape and earns its place among other great women indie rock compositions with location-based song titles, like Mitski’s “Valentine, Texas” and Maggie Rogers’ “Alaska”.

Foxglove: “Sunday Highs”

Craving some musical soul food for this weekend? Treating yourself to some Foxglove ought to be a good fit!

Since 2022 this Austin six-piece has scattered their musical remedies through fields of funk, soul, and R&B alongside forays into indie and hard rock. And as heard on last October’s Ephemeral Daydreams EP, Foxglove forgoes the generic formulas in favor of authentic, moving passion pieces.

They’ll be taking the stage as part of the Happen Twice Showcase 8PM tomorrow night at Güero’s Taco Bar, where their handful of recorded tunes will be joined by Foxglove’s latest newcomer: “Sunday Highs”. There are a lot of moving parts to this single; how it starts sure ain’t how it ends. But the complex song structure of “Sunday Highs” alone speaks volumes to Foxglove’s versatility, not to mention how well each member’s talents play off one another in this sprawling five-minute emotional journey.

The Brothers Burn: “Stepped In Gum”

What happens when you possess all the technical prowess to make a modern record and a newfound abundance of time, but you’ve never tried your hand at music? Best get crackin’, right?

At least that’s the backstory behind Austin producer Scott Osborn, better known by his creative alias The Brothers Burn. Sure, Scott’s already in his sixties, but that hasn’t stopped this retiree from swinging for the fences – with a personal goal to crank out this generation’s Speaking In Tongues, Wild Planet, or even Demon Days. And those big three give you a great sense of The Brothers Burn’s style, pop and funk with a little bit of a electro and lot of party appropriateness, which we’ve heard plenty of since The Brothers Burn’s Christmas 2020 debut.

But at his age, Osborn’s also got the wisdom to know not every song needs profound lyrical inspiration; you truly can just say “life sucks sometimes” and hit record. Case in point: The Brothers Burn’s latest single that hit the proverbial pavement this morning. Channeling that electronic adjacent, mid-late-’90s/early millennium aggression in the ilk of Korn, Linkin Park, or Limp Bizkit, “Stepped In Gum” is somewhere between a spiritual successor to “Break Stuff” and a cut track from the Blade II soundtrack.

So Scott, where’s the vampire rave at?

deCasa: “INSTIGATOR”

Remember that expression “in the house” that was used to show enthusiasm about someone or something’s presence in close proximity? Yeah, you don’t really hear that one much anymore in the 2020s… But if you do want something that’s retro without sounding too dated, deCasa is sheer delight.

Since 2019, deCasa’s Ricky Santiago-Cruz has incorporated his Puerto Rican upbringing into this Austin solo project with effusive flavors of funk, soul, hip-hop, and reggae for a breezy, inner-city-meets-remote-island vibe. On top of that, this Caribbean Cowboy’s the head honcho of his very own label, the emerging Rock Bottom Cartel. And with the added experience of playing alongside KUTX favorites Mobley and The Bright Light Social Hour, Santiago-Cruz has mastered the art of moving the crowd as deCasa.

Speaking of which, ahead of an open invite free house party on Saturday, July 20th (DM Ricky on Instagram for all the deets), last week deCasa rolled out a soulful, synth-y piece of daytime disco. So if you wanna start shit on the dance floor without breaking too much of a sweat, “INSTIGATOR” is short, sweet, and begging for rhythmic feet with a relaxed uptempo energy that doesn’t sacrifice the accessibility of its slick, Jamiroquai-esque grooves.

Jenny Parrott: “When I’m In Need of a Loving God”

Omnichord milestones seem to come once every couple decades. Just look at the space between Eurythmics’ “Love Is a Stranger”, Gorillaz’ “Clint Eastwood”, and Meshell Ndegeocello’s Grammy-winning The Omnichord Real Book from last year. From those big three alone, we think it’s fair to say this kooky little electronic contraption’s not just a novelty. Instead its chock full of possibilities, even within genres you might not expect.

For further proof, we can just point to Jenny Parrott. You might’ve seen or heard this Connecticut-born Austinite play with swing folk trio Shotgun Party or with the indie folk duo Loves It!, both of which overlap with another of Parrott’s biggest prides: their solo career. And as Parrott eases into parenthood and approaches their forties, last weekend they released their fourth LP, Love Spell, which is less a full-length seduction and more a fourteen-track foray into the complex spectrum that is that most amorous emotion.

Yes, with a bit of soul, a bit of avant-folk, and plenty of Omnichord, Love Spell is inspiring piece of universal acceptance and eclectic adoration, all bolstered by the Omnichord’s idiosyncratic clicks and blips alongside Parrott’s piercing falsetto. We recommend sitting down with the record in full, starting off with the album opener and music video, “When I’m In Need of a Loving God”, because with its heartwarming harmonies, balance of acoustic, electric and synthetic, and featherweight vocal performance, it’s beautifully profound – no matter your religious upbringing – or lack thereof.

Sam Franklin: “Blanket”

If you want quality culture here in Texas, the surname Franklin has been shown to be a strong indicator. There’s BBQ pitmaster Aaron Franklin, The Suffers’ frontwoman Kam Franklin, and…native Austinite Sam Franklin.

This producer/engineer/songwriter’s been formally doing his solo thing since the mid twenty-teens, and if you check out his streaming numbers on Spotify alone, they’re not too shabby! Although his style is mainly anchored at the bay of indie pop rock, Franklin (with his fervent falsetto vocals, multi-instrumental mastery, and proven understanding of pristine mixing) actually has some dang good range; Franklin keeps his formulas fresh with elemental forays into trap, R&B, soul, and breakbeat.

But today Franklin returns to his forte of radio-ready indie rock with Sam’s latest standalone “Blanket”, that just as he describes is, “kinda like Weezer meets Dayglow”. At least we can hear it. It’s got that eponymous blue debut guitar distortion setting the mood, infectious lead refrains and lyrical vulnerabilities that give Rivers Cuomo a run for his money, and that emo-adjacent emotional weight that makes folks like Sloan Struble and Sam Franklin such accessible streaming darlings.

SPRY: “All In Good Time”

It’s our Summer membership drive! And to help say thanks for all of your generous contributions, we’re giving back with some KUTX-clusive premieres for the rest of the week, starting off with a rockin’ rebrand.

If you’ve kept up with Austin outfit Mohawk Bends, you might’ve caught wind that they’ve recently called it quits…at least under the previous handle. Yep, following the departure of a longtime member after five years of firing up crowds, these indie-alt-rockers are putting the Mohawk Bends to bed…but fortunately picking up where they left off with a fresh face on bass (Kyle Russell) as SPRY.

True to their new namesake, SPRY’s already leapt into action with a promising roadmap. They will be pulling Mohawk Bends’ self-produced 2018 debut Stay a While from digital platforms soon, but plan on replacing it with an updated, re-recorded take as SPRY. And even though we might end up personally stylizing this rendition as Stay a While (SPRY’s Version) for the sake of clarity, fans of the first one definitely won’t mistake this as the original; although four of Stay a While‘s favorites are still intact (two of which have already hit streaming) a salvo of five new tracks fires off this next chapter as SPRY.

So catch SPRY 11PM this Friday at Coral Snake alongside Knetx at midnight and our April 2015 Artist of the Month Abram Shook at 10PM. You may accidentally deadname SPRY a couple of times between now and the show, but as with any new transition, adjustments come “All In Good Time”. And boy oh boy is this first installation a behemoth. Walking that tricky alt-rock tightrope of heavy and mellow and anchored by an exceptional mix, “All In Good Time” is like the arrival of a long awaited sonic sequel, and an awesome way for the boys of Mohawk Bends to resume their much-missed, enthusiastic work in the live scene. Go get ’em, SPRY.

Painterly: “Ok/Alright”

What’s that old stereotype about the acting hubs of L.A. and New York? Oh right. Every server you meet is actually an actor who’s just waiting tables ’til they score that sweet screen time. Which is fairly different from music hubs like Austin, where success is less about streaming numbers and more about overcoming artist multiplicity to make yourself stick out amongst the crowd. Yeah, the dissonance between the “Live Music Capital of the World” and status as one of the most expensive places to live has pretty much guaranteed that if you’re not in a corporate role…there’s a fifty/fifty chance you’re also a musician in your free time. And if you can find a profession that matches your passion, more power to you.

Take people like JC Barrett. If you’ve attended any of the events from the recently-wrapped 2024 spring season of KUTX’s Rock the Park live series, you’ve heard Barrett and his fellow Werd Company engineers making our featured artists sound mighty fine out at Mueller. But outside The Werd Company (which, full disclosure DOES serve a sponsorship role for Song of the Day), Barrett applies that technical prowess and tremendous passion to his Austin project Painterly. Serving as chief producer, songwriter and multi-instrumentalist, Barrett’s already steered this indie pop three-piece through an enthusiastic introduction, culminating in Painterly’s debut EP from last April, What’s the Year?

Last Friday Painterly unfurled their latest single and music video “Ok/Alright”. As the stylized title implies, it’s somewhat of a two-parter with a bit of a left turn in its final minute. But don’t get thrown off by the “blah” aspect of the words themselves in the title. Because “Ok/Alright” is actually an awfully optimistic piece of indie pop, one that’s an actually an endearing testament to the comforting power of love and connection in the face of day-by-day medicated malaise.

So if the Monday blues have got you down, cheer up. It’ll be Ok. Alright?

Fogwood: “The Mystic Valley”

Yesterday was the summer solstice, not that you’d be able to tell with how grey and rainy it was. So to complement this week’s inclement weather, we’re getting a little foggy this Friday. And that’s on behalf of Fogwood.

Down to three members from the original four we heard on Fogwood’s eponymous 2022 debut, this Austin outfit lets their multi-instrumental imagination run loose with players alternating between guitar, keys, synth, mellotron, cello, and theremin. In doing so, Fogwood almost obscures who’s playing what and when, which is ultimately an ideal for their meditative, transformative, and free associative electronic instrumental arrangements.

Well, just in time for the summer solstice, Fogwood and the celestial elements aligned with the release of their sophomore full-length Inner Chambers yesterday. True to its title, Inner Chambers is a cavern-deep sonic experience that expands more than you may expect, albeit with no tight squeezes spoiling transitions between the seven intriguing tunes. They’re all great. They’re all weird. And they’ll all fill you with a feeling of awe. But we’ll give a special shoutout to Inner Chambers‘ centerpiece “The Mystic Valley” for its percussion-less, Philip Glass-esque arpeggios and atmospheric pads that almost sound like a cut track from the Koyaanisqatsi soundtrack.

Subpar Snatch: “Juicy Booty”

In the casual hookup community, even lovers with the highest body counts (especially those outside cis-hetero norms) might agree; it’s not size, shape, presence, or lack of specific anatomical features that make the biggest impression after the act. No, the quality of your “bits” may actually come second to a sense of enthusiasm when turning what could’ve been a vapid interaction into an unforgettable encounter. You know…”the motion of the ocean” and all that.

Sorry. We’re not trying to give anyone the ick. We just needed a little foreplay before introducing you to Subpar Snatch. First off, “Supbar Snatch” ain’t a bait-and-switch…like if a middle aged man named Richard were to go by “Mid Dick”; check their labian logo lest you misinterpret the band’s handle. Secondly, this Austin ménage à trois of mania and talent has managed to standout in the turbulent world of punk and garage shows which, whether in liminal concrete spaces or on sticky dive bar stages, are usually messy encounters full of technical missteps, sloppy techniques, hair getting caught in things, and performances so short they often climax before the crowd’s hardly half-cocked.

Haven’t slid into Subpar Snatch live in concert yet? Let ’em satisfy you this Pride Month with a gig next Wednesday at Still Austin Whiskey Co. for Gay Heat: Benefit for Equality Texas and a single and music video release show 11:30PM tomorrow night at Chess Club, with openers Sunspite at 10 and Bat Lips at 10:45, plus closers Hell Fury a quarter past midnight. And that new single, “Juicy Booty” is one of the trio’s most aggressive and accessible to date. With a pristine mix that preserves that in-garage gusto, a start-and-stop instrumental riff that’ll make you pull something in the pit, a half time bridge breakdown that edges towards a big finish, and individual intensities that layer together perfectly, “Juicy Booty” is a succulent, stimulating testament to what makes this three-piece anything but subpar…and why denying naughty song titles is plain asinine.

Daniel Fears: “Home” (Live from the Draylon Mason Music Studio)

Happy Juneteenth! While it’s now a national holiday, it’s always been a celebration here in Texas, where historically Black hubs like Houston were notified of the Emancipation Proclamation and the Civil War’s end later than the rest of the states.

And it’s Houston that gave us our July 2021 Artist of the Month Daniel Fears. We’ve already gushed about Daniel a ton, chiefly around his Frank Ocean-esque vocals, sophisticated sense of liquid R&B sonics, and seamless transitions between trombone and piano. These days Daniel’s a household name all on his own, but that couldn’t’ve happened without all his time spent as brass-for-hire in the neo-classical circuit.

That neo-classical element recently had a real full circle moment with the release of Close To Home a couple weeks back. Recorded live at KMFA’s Draylon Mason Music Studio, this six-song session presents Fears’ passionate compositions in an unforgettable, all-acoustic and unplugged orchestral way, one that simultaneously emphasizes Daniel’s individual talents as well as the importance of thorough, thoughtful arrangements. Well, just in time for Juneteenth, there’s a screening of If They Took Us Back (the score for which Daniel contributed to) alongside a special solo concert appearance 7PM tonight at The Paramount Stateside.

That said, if the high chance of thunderstorms has you considering couch lock for this evening, transport the Draylon Mason Music Studio to your living room stereo with the Close To Home cut of “Home”. Because everyone has the right to feel at home, no matter who they are.

Luke Smith: “Jimmy”

We’re right at Pride Month’s midpoint, so just as a refresher: no matter how you identify, be proud of yourself! At the same time, it’s worth acknowledging our place in a progressive city, a quarter century into the 21st, because not every Queer person’s been blessed with those privileges; more often than not, it’s a real struggle for acceptance that ends with the ostracized eventually splitting town.

Like, look at singer-songwriter-pianist Luke Smith. After spending time in Seattle with outfits like St. Yuma and Westmoreland, Smith has cemented himself within our city limits, where he (with the help of his backing trio) dropped his debut LP The World Is Such a Beautiful Place a month back. Not the biggest transition in terms of migrating between musical hubs, but growing up Queer in rural Oklahoma was obviously a much different story.

And as a matter of fact, that was the basis for Smith’s own fictional retelling of events, “Jimmy”. Wrapping up the The World…‘s first act, “Jimmy” maintains the LP’s mellow keyboard core and sense of cautious optimism against oppressive realities, in this case delivered from the perspective of an estranged sibling. It’s a poignant addition to an already-powerful album and a beautifully bleak interpretation of how much pain can come from a loss of belonging.

So remember, make others feel welcome around you. Otherwise you might end up making them leave. And there’s no need to put extra pain on anyone else’s plate in this perfectly flawed planet.

Alexi 8bit: “You Don’t Have to Be Alone Anymore”

In the world of singers, acting cutesy doesn’t necessarily negate sophistication. Like, we’ve seen a lot of success in going north of mere infantile novelty and co-opting that puppy love naivety in a way that’s accessible to all age groups. And while we can point to a major movement of such with jazz-pop hits from the ’40s through ’60s, it’s especially true post-Ariana Grande’s impact on our modern musical environment.

Just ask Alexi 8bit. This Austin multi-instrumentalist-producer just wrapped up last month with her sophomore EP Softy. Between Alexi’s pink dress, ribbons in hair, and oversized teddy bear on the album artwork and track titles like “Dreaming From My Childhood Bed”…yeah…there’s some extremely girly energy engulfing Softy on first glance. But past that surface level aesthetic, when you actually sit down and listen to this thing, it’s clear that no one other than a grown ass person could accomplish something so mature. I mean you can’t score an ongoing residency at Fairmont Austin’s Room 725 lounge without having ample class, right?

And you don’t have to identify any which way to be moved by Softy‘s five-song selection either. So before you celebrate Pride Month with Alexi and the full 8bit band on Sunday, June 30th at Cheer Up Charlie’s, kick back with the cool keys, expertly-executed vocals, bear-hug-big harmonies, and comforting lyrical company of the Norah Jones-esque “You Don’t Have to Be Alone Anymore”.

I’m not crying; you’re crying.

Rival Waves: “Time’s Up”

When you’re in the high seas, you’re at the mercy of rogue waves. When you’re in Texas during the summertime, you’re at the mercy of heatwaves. But if you’d prefer to get thrashed around and work up a sweat without ever facing the sun or leaving port, here in Austin we’ve got Rival Waves.

Starting with their 2018 debut full-length Transducer, this quintet’s ebbed and flowed through all kinds of rocky channels, ranging from alternative and indie to grunge and punk. Sure, the tides of mainstream music have shifted, and we’re at least a couple decades removed from most of those genres’ commercial heydays, but that hasn’t stopped Rival Waves from making a big splash in the local scene and beyond; just check out their respectable streaming numbers between last August’s A Meaningless Chaos and late April’s NAMI EP alone.

Well, ahead of a single release show 8PM next Friday, June 21st at The Courtyard ATX, Rival Waves has a foreboding message to any remaining naysayers: “Time’s Up”. Like the training montage soundtrack that escalates to a final climactic battle, Rival Waves crash against high octane punk and melodic alternative with an almost operatic song structure and chord sequence on “Time’s Up”. But in terms of Rival Waves’ still-cresting career? They’re not stopping the clock any time soon.

The Wild Kindness: “No One Belongs Here More Than You”

Random acts of kindness: we can’t recommend ’em enough. Because it’s those little gestures you catch in the wild that help us make new connections (no matter how brief or passing), break past malaise and monotony, and recognize the world as a more compassionate place. And new connections are also a key component to what makes The Wild Kindness one of a kind.

We wouldn’t call The Wild Kindness’ frontman Mike Alexis a wunderkind, but we do give him kudos for evolving his former Bay Area solo act into the five-piece it is today by recruiting some of Austin’s finest, post-relocation. Now, a dozen years down the line from TWK’s debut Coming Down to the Ghost, this quintet’s cemented itself among the city’s chief chamber rock projects. No, it’s not like their compositions are contrapuntal, convoluted, or anything; it’s just the welcome inclusion of orchestral elements like strings, brass, and woodwings that really makes these jangly arrangements stand out in the artist-flooded field of indie rock.

Well, comin’ up in a couple days, The Wild Kindness has one heck of a weekend in store. They’re sharing The Blind Trust this Friday, followed by a free EP cassette release show 8PM this Saturday at Drinks Backyard alongside The Heavenly States and Great Howl. But you don’t have to put your faith in The Blind Trust strictly on our word. Because the album’s lead single that dropped last October, “No One Belongs Here More Than You”, is the coziest piece of melancholy to come out in a while. The two alternating chords and candid lyrics of its verses alone are enough to get us emotional immediately, but its the well rounded instrumentation (slow cello swells, rainy ride cymbals, rippin’ lead guitar, et al.) and uplifting dynamic range make “No One…” a true triumph of human acceptance.

Ticketing through an Austin Lens

This episode of Pause/Play explores changes in ticketing through an Austin lens. You’ll hear from Mellie Price, one of the founders of Front Gate Tickets about the industry’s expansion onto the internet. Then you’ll hear from Stephen Parker, the executive director of the National Independent Venue Association about problems with service fees, secondary markets, and speculative ticketing. And you’ll learn about what some people are trying to do to fix these issues.

Mark Hallman: “Bright Star”

When you’ve spent decades making great records for other people, you’ve got all the tools to do it on your own, right? Yeah, although producers often get relegated to a “man behind the curtain” position for other artists’ critical success, at the end of the day they’re some of the strongest shapers of sound.

Take industry heavyweight producer-engineer-songwriter Mark Hallman, who’s been helping elevate albums for nearly half a century now. Mark’s best known for his work with Ani DiFranco, Eliza Gilkyson, and Carole King, the latter of which moved down here with him to Austin back in 1980. Since then Hallman’s been a standout in Austin’s already rich production roster, but with the exception of 2016’s “The Voyage“, he’s kept his own solo compositions largely cooped up.

At least he did until this past May, when Mark Hallman released his debut full-length Light Trick, seven tracks that capture Mark’s amalgamation of musical talents. The material may be recent, but the sound is exactly what you’d expect from Hallman’s late ’70s upbringing, folk rock formulas and all. So set some time aside to let Light Trick take you on an eclectic trek, starting with the LP opener “Bright Star”. Don’t stop shinin’ anytime soon, Mark.

Holy Roller Baby: “Speaking In Tongues”

Since its advent at the turn of the millennium, the term “swag” has lent itself to plenty of manufactured personalities. We don’t hear “swag” much anymore, which is fine by us, since swagger ought to come naturally; it shouldn’t be too sophisticated.

You take one look at multi-instrumentalist Jared Mullins, who (in the best way possible) looks like a mix between Robert Plant and Big Lebowski‘s “The Dude”, and you know right away he’s a shining specimen of swagger. And appearances aside, Mullins’ project Holy Roller Baby – now half a decade strong – even refers to their spectrum-spelunking style of rock (heavy more often than not) as “primitive swagger”. HRB’s debut LP Frenzy was a ferocious feast that kept us pretty full for the pandemic’s first couple of years, but we sure were pleased to get a second round of standalone singles starting last March.

Well it turns out the Austin quartet’s already got another one in the can and ready to let loose in the coming months. They announced their next full-length Smile In Heaven (set for release August 23rd) last Friday with the record’s lead single “Speaking In Tongues”. We won’t recommend making out in the middle of train tracks for obvious safety concerns, but we will urge you to check out the Super 8 music video for “Speaking In Tongues”, since it’s such a powerful emotional accompaniment to what sounds like Holy Roller Baby’s Central Texas twist on Radiohead’s “Creep”, high contrast dynamics, unhurried grunge arrangement, impassioned vocal performance, and all. Rock on, Rollers. Rock on.

Daily Worker: “Street Cred”

Ah, Friday afternoon. A beautiful time to be a daily worker, at least in an era where weekends are the norm. And not just because of the standardized two days off. No, there’s also new music from Austin outfit Daily Worker.

The trio typically conjures a non-centrist, counter-capitalist aesthetic, down to their choice of band handle and favorite fonts. Though even if you don’t jive with their specific societal commentaries, the music itself – eclectic by all accounts but most often seeped in the psych-folk-rock made familiar by fronting singer-guitarist Harold Whit Williams other project Cotton Mather – doesn’t require much convincing to enjoy on its own.

It’s been nearly a full year since Daily Worker last recorded with KUTX favorite Chris “Frenchie” Smith at The Bubble, and we’re finally approaching the release of their upcoming EP MF Genius, dropping July 30th. Just from the production value alone, there’s clearly been a ton of loving care and consistent work put into MF Genius, which undeniably elevates Daily Worker’s historically lo-fi sound. And this morning we got the record’s centerpiece and second of five originals, “Street Cred“. Saturated in that turn-of-the-millennium alternative rock aura that Frenchie’s so efficient at fulfilling, “Street Cred” basks in the accessible simplicity that only a sub-three-minute track (and minimalist music video) can offer, even with a rippin’ Robert Fripp-esque guitar solo fit for The Court prog-ing out its midpoint. You don’t gotta be smart to know this rocks.